Metallica guitarist Kirk Hammett has revealed the unlikely song that brings him to tears.
Talking to Rolling Stone, the 62-year-old says that Junior Dad, from the metal titans’ maligned 2011 Lou Reed collaboration album Lulu, makes him weepy to the point he can’t listen to it.
Lulu was released to mixed reviews from critics and derision from fans, many of whom were confused or outraged by the crossover’s avant-garde metal direction. Based on the Lulu plays by German playwright Frank Wedekind, it sees Metallica play metal music beneath poetry from Reed.
Despite the backlash, Hammett says, “That album means so much to me for a number of reasons.”
He continues: “The lyrics are amazing. It’s poetry from track to track. I’m a huge Lou Reed fan. To be able to hang out with him and work with him musically meant so much.”
The guitarist then zeroes in on Junior Dad. “And the track Junior Dad – I can’t listen to it, man. Brings me to tears. I remember when Lou said, ‘I have a song for you and I want this to be on the album.’ And he played it for James [Hetfield, vocals/guitars] and I.
“And by the end of the song, I looked at James, and James looked at me and we both had tears in our eyes. Then Lou Reed came in and saw us both crying in the kitchen. He’s smiling and he said, ‘I got you, didn’t I?’”
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Hammett previously spoke about the emotional effect Junior Dad has on him in 2011. He told Mojo (via Blabbermouth): “I had just lost my father literally three or four weeks previous. I had to run out of the control room, and I found myself standing in the kitchen, sobbing away. James came into the kitchen in the same condition he was sobbing, too. It was insane.”
Though Lulu was controversial, both Metallica and Reed have defended the album. In a 2011 USA Today interview, Reed said: “I don’t have any fans left. After [1975 album] Metal Machine Music, they all fled. Who cares? I’m essentially in this for the fun of it.”
In 2023, Metallica drummer Lars Ulrich chalked the venomous fan feedback up to “ignorance”. “I can’t quite figure it out,” he said, “but years later, it’s aged extremely well. It sounds like a motherfucker still. So I can only put the reaction down to ignorance.”
Apr 19: Syracuse MA Wireless Dome, NY* Apr 24: Toronto Rogers Centre, ON* Apr 26: Toronto Rogers Centre, ON+ May 01: Nashville Nissan Stadium, TN* May 03: Nashville Nissan Stadium, TN+ May 07: Blacksburg Lane Stadium, VA* May 09: Columbus Sonic Temple, OH May 11: Columbus Sonic Temple, OH May 23: Philadelphia Lincoln Financial Field, PA+ May 25: Philadelphia Lincoln Financial Field, PA* May 28: Landover Northwest Stadium, MD* May 31: Charlotte Bank Of America Stadium, NC* Jun 3: Atlanta Mercedes-Benz Stadium, GA* Jun 6: Tampa Raymond James Stadium, FL+ Jun 8: Tampa Raymond James Stadium, FL* Jun 14: Houston NRG Stadium, TX* Jun 20: Santa Clara Levi’s Stadium, CA+ Jun 22: Santa Clara Levi’s Stadium, CA* Jun 27: Denver Empower Field at Mile High, CO+ Jun 29: Denver Empower Field at Mile High, CO*
* Pantera and Suicidal Tendencies support + Limp Bizkit and Ice Nine Kills support
Halestorm originated in Red Lion, Pennsylvania, and began their journey in 1997 when siblings Lzzy and Arejay Hale started writing songs and performing locally. With Lzzy as lead vocalist and guitarist, and Arejay on drums, the duo quickly developed a reputation for their powerful stage presence. Eventually joined by guitarist Joe Hottinger and bassist Josh Smith, the band solidified their lineup, relentlessly touring and perfecting their distinctively energetic hard rock style.
The band’s perseverance paid off when they signed with Atlantic Records in 2005, marking the official beginning of their professional recording career. Halestorm has released five studio albums to date: their self-titled debut, Halestorm (2009), followed by The Strange Case Of… (2012), Into the Wild Life (2015), Vicious (2018), and Back from the Dead (2022). Each release has showcased their evolution as artists, experimenting with heavier riffs, lyrical depth, and emotional intensity, yet always maintaining their signature hard rock sound.
Halestorm’s breakthrough success arrived with their second album, The Strange Case Of…, propelled by the massive hit single “Love Bites (So Do I).” This track earned them the Grammy Award for Best Hard Rock/Metal Performance in 2013, making Halestorm the first female-fronted band to receive the honor in this category. Additional hits like “I Miss the Misery,” “I Get Off,” “Freak Like Me,” and “Apocalyptic” further established their standing in rock radio and amplified their appeal worldwide.
Throughout their career, Halestorm has garnered significant acclaim and several prestigious nominations. Beyond their groundbreaking Grammy win, they have earned multiple nominations from organizations like Loudwire Music Awards and Revolver Golden Gods Awards, recognizing their contributions to modern rock music. Their reputation for authentic performances, powerful vocals from Lzzy Hale, and undeniable chemistry onstage has deeply resonated with both critics and audiences alike.
One reason Halestorm has built such a loyal and passionate fanbase lies in their relentless dedication to authenticity, musical integrity, and emotional openness. Lzzy Hale’s powerful vocal presence, combined with relatable lyrics dealing with personal struggles, empowerment, and resilience, has made the band particularly compelling. Their consistent ability to deliver dynamic, emotionally charged live performances has further solidified their status as one of rock’s most respected bands today.
Beyond music, Halestorm actively engages in advocacy for several causes, notably mental health awareness and the empowerment of women in the music industry. Lzzy Hale frequently uses her platform to speak openly about mental health struggles, sexism within the music business, and the importance of supporting young female musicians. Through public discussions and interviews, the band consistently promotes inclusivity and positive change within their community and beyond.
Complete List Of Halestorm Songs From A to Z
1996 (Marilyn Manson cover) – ReAniMate 2.0: The Covers EP – 2013
All I Wanna Do Is Make Love to You (Heart cover) – ReAniMate: The Covers EP – 2011
All I Wanna Do Is Make Love to You (Heart cover) – The Strange Case Of… – 2012 (Japanese edition)
Alien – Back from the Dead – 2022 (Deluxe Edition)
Unapologetic – Into the Wild Life – 2015 (Deluxe edition)
Vicious – Vicious – 2018
Wannabe – Back from the Dead – 2022 (Deluxe Edition)
What Sober Couldn’t Say – Into the Wild Life – 2015
What Were You Expecting? – Halestorm – 2009
White Dress – Vicious – 2018
Who Do You Love? – Halestorm – 2009 (10th Anniversary Edition, 2006 Basement Demo)
Wicked Ways – Back from the Dead – 2022
You Call Me a Bitch Like It’s a Bad Thing – The Strange Case Of… – 2012
You Only Die Once – Back from the Dead – 2022 (Deluxe Edition)
Albums And EPs
Forecast for the Future – Self-released – 1997
(Don’t Mess with the) Time Man – 1999
Breaking the Silence – Self-released – 2001
One and Done (EP) (2006): 5 songs
Halestorm (2009): 28 songs (including all bonus tracks and demos)
ReAniMate: The Covers EP (2011): 6 songs
Hello, It’s Mz. Hyde (2012): 4 songs (all also appear on the full album)
The Strange Case Of… (2012): 21 songs (including all bonus tracks and covers)
ReAniMate 2.0: The Covers EP (2013): 6 songs
Into the Wild Life (2015): 16 songs (including bonus tracks)
(2017): 6 songs
Stripped (2018): 5 songs
Vicious (2018): 18 songs (including all bonus tracks)
Reimagined (2020): 6 songs
Back from the Dead (2022): 20 songs (including all bonus tracks)
Check out our fantastic and entertaining Halestorm articles, detailing in-depth the band’s albums, songs, band members, and more…all on ClassicRockHistory.com
Brian Kachejian was born in Manhattan and raised in the Bronx. He is the founder and Editor in Chief of ClassicRockHistory.com. He has spent thirty years in the music business often working with many of the people who have appeared on this site. Brian Kachejian also holds B.A. and M.A. degrees from Stony Brook University along with New York State Public School Education Certifications in Music and Social Studies. Brian Kachejian is also an active member of the New York Press.
What have Donington, plus the albums Heaven And Hell, Ace Of Spades, On Through The Night and Iron Maiden got in common with Black In Black? Simple – the year 1980.
Not only was this the year when AC/DC released the biggest album of their career, but also the one that saw Black Sabbath bring in Ronnie James Dio to replace Ozzy Osbourne for the seminal Heaven And Hell album; the New Wave Of British Heavy Metal take flight into international waters thanks to the debut albums from Iron Maiden and Def Leppard (self-titled and On Through The Night, respectively); and the release of the most important album that Motörhead ever recorded, Ace Of Spades.
Motörhead – Ace Of Spades (Official Video) – YouTube
This was also the year when a racetrack in the Midlands became one of the famous locations in the world of rock and metal. Castle Donington may have had fans reaching for the nearest road map when it was announced that Rainbow would be playing an outdoor show at the site on August 16, 1980, but it soon became more famous for headbanging than for pit stops.
Joined by Judas Priest, Scorpions, Saxon, April Wine, Riot and Touch, Blackmore and co. turned a rain-sodden, muddy field into a Mecca for metal, one that was to be an annual pilgrimage throughout the 1980s – the Monsters Of Rock Festival at Donington was to quickly establish itself as a world-renowned and revered event. But this was merely the tip of an iceberg that arguably makes 1980 the most crucial year in the history of the music we all love.
Rainbow – All Night Long (Live At Monsters Of Rock Donnington 1980) – YouTube
In February of that year, EMI released the Metal For Muthas compilation, one that gave the whole NWOBHM concept a major-label cachet, featuring Maiden, plus Praying Mantis, Angel Witch, Sledgehammer, Nutz, not to mention the impossibly named Toad The Wet Sprocket and Ethel The Frog.
There was also the infamous Heavy Metal Barn Dance at Bingley Hall in Stafford, headlined by Motörhead, who led a merry metal jig with Saxon, Girlschool, Vardis, Angel Witch and Mythra. How many fans ended up sleeping on Stafford station that night, having missed their last connection?
The Reading Festival filled our heads with rock – 1980 was when Slade staged one of the great comebacks of all time during the August Bank Holiday weekend. Former UFO guitar hero Michael Schenker cut his hair and started his own band, MSG. Rush also took a radical turn away from their sword & sorcery imagery, with the Permanent Waves album.
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So much happened during these 12 months that, decades on, it’s hard to pack the impact into mere words. But have no doubt what this year meant to the music scene. A young Danish wannabe was so fascinated by the UK melting pot that he spent a considerable amount of time over here, pursuing bands like Diamond Head and Jaguar. In fact he was so inspired by what was going on that the teenager determined to ditch his promising tennis career and try his hand with a drum stick.
We now know him as Lars Ulrich of Metallica. Just ask him how 1980 changed his life.
This feature appeared in Classic Rock Presents AC/DC. published in 2017.
“If it wasn’t for those four guys, we might still be wandering around in the dark”: While Kirk Hammett hails Black Sabbath as metal’s founders, Ghost’s Tobias Forge names the “neglected” aspect of their sound
(Image credit: Mark Horton/Getty Images | Frazer Harrison/Getty Images for ABA | Mariano Regidor/Redferns)
As the pair prepare to perform at the foundational heavy metal band’s last-ever concert, Metallica’s Kirk Hammett and Ghost’s Tobias Forge have spoken about the enduring influence of Black Sabbath.
In a new interview with Heavy Consequence, Hammett hails the Birmingham pioneers’ impact on metal music. He calls Metallica’s upcoming performance at the final Sabbath show – Back To The Beginning, taking place at Villa Park, Birmingham, on July 5 – “a real opportunity to say thank you to Ozzy [Osbourne] and Tony [Iommi] and Geezer [Butler] and Bill [Ward], ’cause they fricking wrote the book on the genre”.
He adds (via Blabbermouth), “If it wasn’t for those four guys, man, we might still be wandering around in the dark. But the fact that they created a genre – not only created it, but then developed it and then turned it into a few different things over the course of their career – is completely awe-inspiring to me and my peers musically. I mean, how do you thank someone like that?”
Metallica are one of several performers set to take the stage at Back To The Beginning, which will also feature the final solo set from Osbourne. Slayer, Anthrax, Mastodon, Halestorm and multiple others will play throughout the day.
Inn addition, Back To The Beginning will have an all-star “supergroup” composed of Billy Corgan (The Smashing Pumpkins), Tom Morello (Rage Against The Machine), Fred Durst (Limp Bizkit) and others, including Ghost frontman Tobias “Papa V Perpetua” Forge.
Where Hammett praises Sabbath for their influence on heavy music, during a recent appearance on The Mistress Carrie Podcast, Forge speaks about what he feels is an underrated element in the Brummies’ sound.
Hailing the band’s more “proggy” albums – which he says include Vol. 4 (1972), Sabbath Bloody Sabbath (1973) and Sabotage (1975) – Forge explains (via Ultimate Guitar): “Obviously, everybody’s giving credit to them, but sometimes I think that they neglect… The whole metal genre, all the big heavy bands, it’s always been like, ‘Yeah, Black Sabbath!’ When I think about them, I think about keyboards and I think about big mournful ballads. Those were the deep things.”
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He continues, “I love Symptom Of The Universe. I love Children Of The Grave too, but they were so much more than that, so much more than that. And hugely influential for me.”
As well as appearing at Back To The Beginning, Metallica will tour North America this year. See dates and details below.
Ghost will release their new album Skeletá via Loma Vista on April 25. Lead single Satanized is currently streaming. The band will start a six-month world tour in Manchester, UK, on April 15. See details and get tickets via their website.
(Image credit: Live Nation)
Apr 19: Syracuse MA Wireless Dome, NY* Apr 24: Toronto Rogers Centre, ON* Apr 26: Toronto Rogers Centre, ON+ May 01: Nashville Nissan Stadium, TN* May 03: Nashville Nissan Stadium, TN+ May 07: Blacksburg Lane Stadium, VA* May 09: Columbus Sonic Temple, OH May 11: Columbus Sonic Temple, OH May 23: Philadelphia Lincoln Financial Field, PA+ May 25: Philadelphia Lincoln Financial Field, PA* May 28: Landover Northwest Stadium, MD* May 31: Charlotte Bank Of America Stadium, NC* Jun 3: Atlanta Mercedes-Benz Stadium, GA* Jun 6: Tampa Raymond James Stadium, FL+ Jun 8: Tampa Raymond James Stadium, FL* Jun 14: Houston NRG Stadium, TX* Jun 20: Santa Clara Levi’s Stadium, CA+ Jun 22: Santa Clara Levi’s Stadium, CA* Jun 27: Denver Empower Field at Mile High, CO+ Jun 29: Denver Empower Field at Mile High, CO*
* Pantera and Suicidal Tendencies support + Limp Bizkit and Ice Nine Kills support
Louder’s resident Gojira obsessive was still at uni when he joined the team in 2017. Since then, Matt’s become a regular in Prog and Metal Hammer, at his happiest when interviewing the most forward-thinking artists heavy music can muster. He’s got bylines in The Guardian, The Telegraph, NME, Guitar and many others, too. When he’s not writing, you’ll probably find him skydiving, scuba diving or coasteering.
Feature Photo: Bruce Alan Bennett-Shutterstock.com
The Ramones stormed onto the music scene from the gritty streets of Forest Hills, Queens, New York, where four friends—Joey, Johnny, Dee Dee, and Tommy Ramone—united in 1974, sharing a vision to strip rock music back to its raw, powerful core. The band quickly became a staple at the legendary club CBGB, galvanizing audiences with their fast, no-frills performances and becoming central figures in the burgeoning punk rock movement. Their minimalist approach was revolutionary, with concise songs, high-speed tempos, and straightforward lyrics that defied the overly produced rock trends of their time.
Over their influential 22-year career, the Ramones released fourteen studio albums, beginning with their groundbreaking self-titled debut in 1976. Although commercial success eluded them initially, the band gained critical acclaim and built a fiercely loyal fanbase. Notable releases included “Rocket to Russia,” “Road to Ruin,” and “End of the Century,” each showcasing their signature blend of aggressive yet melodic punk. Iconic singles like “Blitzkrieg Bop,” “Sheena Is a Punk Rocker,” “Rockaway Beach,” and “I Wanna Be Sedated” became punk anthems, resonating across generations and solidifying their legacy.
Despite their initial lack of mainstream commercial success, the Ramones were widely recognized for their profound impact on music history. In 2002, their lasting influence and musical contributions were officially honored when they were inducted into the Rock and Roll Hall of Fame. Additionally, the Ramones earned a Grammy Lifetime Achievement Award in 2011, underscoring their enduring significance within the music industry and highlighting the respect they garnered from both peers and subsequent musical generations.
The Ramones’ unique appeal lay in their unpretentious, authentic approach to music and performance. Their dedication to simplicity, combined with their relentless touring schedule—playing 2,263 concerts over their career—earned them deep admiration from fans worldwide. They maintained an unwavering commitment to their musical style, never yielding to commercial pressures to alter their distinctive sound, a decision that has made them revered as true pioneers and cultural icons.
Beyond music, the Ramones extended their influence into popular culture in unexpected and lasting ways. Their iconic logo and fashion style—black leather jackets, ripped jeans, and sneakers—became synonymous with punk’s visual identity. Additionally, the band’s imagery and music were featured prominently in numerous films, television shows, and other media, broadening their cultural footprint and further embedding them into popular consciousness.
The Ramones also ventured into social advocacy and community involvement. Joey Ramone, notably active in raising awareness and funds for lymphoma research, established a legacy of philanthropy through initiatives like the annual Joey Ramone Birthday Bash, a charity event supporting medical research. These endeavors demonstrated the band’s profound personal commitments and reinforced their reputation as musicians who genuinely cared about making a positive impact.
Ultimately, the Ramones remain beloved in the music business for their revolutionary role in shaping punk rock, their unwavering authenticity, and their cultural legacy that continues to inspire artists across genres. Their groundbreaking music, tireless energy, and genuine spirit ensure they will always hold a revered place in the annals of rock history.
Complete List Of Ramones Songs From A to Z
53rd & 3rd – Ramones – 1976
7 and 7 Is – Acid Eaters – 1993
7-11 – Pleasant Dreams – 1981
A Real Cool Time – Halfway to Sanity – 1987
All Screwed Up – Brain Drain – 1989
All the Way – End of the Century – 1980
All’s Quiet on the Eastern Front – Pleasant Dreams – 1981
Animal Boy – Animal Boy – 1986
Anxiety – Mondo Bizarro – 1992
Apeman Hop – Animal Boy – 1986
Babysitter – All the Stuff (And More) Volume One – 1990
Baby, I Love You – End of the Century – 1980
Bad Brain – Road to Ruin – 1978
Beat on the Brat – Ramones – 1976
Blitzkrieg Bop – Ramones – 1976
Bop ‘Til You Drop – Halfway to Sanity – 1987
Born to Die in Berlin – ¡Adios Amigos! – 1995
Bumming Along – Subterranean Jungle – 1983
Bye Bye Baby – Halfway to Sanity – 1987
Cabbies on Crack – Mondo Bizarro – 1992
California Sun – Leave Home – 1977
California Sun (Live) – All the Stuff (And More) Volume One – 1990
Can’t Get You Outta My Mind – Brain Drain – 1989
Can’t Seem to Make You Mine – Acid Eaters – 1993
Carbona Not Glue – Leave Home – 1977
Censorshit – Mondo Bizarro – 1992
Chain Saw – Ramones – 1976
Chasing the Night – Too Tough to Die – 1984
Chinese Rock – End of the Century – 1980
Chop Suey – Pleasant Dreams – 1981
Come Back, Baby – Brain Drain – 1989
Come Back, She Cried aka I Walk Out – Road to Ruin – 1978
Come On Now – Pleasant Dreams – 1981
Commando – Leave Home – 1977
Cretin Family – ¡Adios Amigos! – 1995
Cretin Hop – Rocket to Russia – 1977
Crummy Stuff – Animal Boy – 1986
Danger Zone – Too Tough to Die – 1984
Danny Says – End of the Century – 1980
Daytime Dilemma (Dangers of Love) – Too Tough to Die – 1984
Death of Me – Halfway to Sanity – 1987
Do You Remember Rock ‘n’ Roll Radio? – End of the Century – 1980
Do You Wanna Dance? – Rocket to Russia – 1977
Don’t Bust My Chops – Brain Drain – 1989
Don’t Come Close – Road to Ruin – 1978
Don’t Go – Pleasant Dreams – 1981
Durango 95 – Too Tough to Die – 1984
Eat That Rat – Animal Boy – 1986
Endless Vacation – Too Tough to Die – 1984
Everytime I Eat Vegetables It Makes Me Think of You – Subterranean Jungle – 1983
Freak of Nature – Animal Boy – 1986
Garden of Serenity – Halfway to Sanity – 1987
Gimme Gimme Shock Treatment – Leave Home – 1977
Glad to See You Go – Leave Home – 1977
Go Lil’ Camaro Go – Halfway to Sanity – 1987
Go Mental – Road to Ruin – 1978
Got a Lot to Say – ¡Adios Amigos! – 1995
Hair of the Dog – Animal Boy – 1986
Have a Nice Day – ¡Adios Amigos! – 1995
Have You Ever Seen the Rain? – Acid Eaters – 1993
Havana Affair – Ramones – 1976
Heidi Is a Headcase – Mondo Bizarro – 1992
Here Today, Gone Tomorrow – Rocket to Russia – 1977
High Risk Insurance – End of the Century – 1980
Highest Trails Above – Subterranean Jungle – 1983
Howling at the Moon (Sha-La-La) – Too Tough to Die – 1984
Humankind – Too Tough to Die – 1984
I Believe in Miracles – Brain Drain – 1989
I Can’t Be – All the Stuff (And More) Volume One – 1990
I Can’t Control Myself – Acid Eaters – 1993
I Can’t Get You Out of My Mind – Pleasant Dreams – 1981
I Can’t Give You Anything – Rocket to Russia – 1977
I Can’t Make It on Time – End of the Century – 1980
I Don’t Care – Rocket to Russia – 1977
I Don’t Want to Grow Up – ¡Adios Amigos! – 1995
I Don’t Want to Live This Life (Anymore) – All the Stuff (And More) Volume 2 – 1990
I Don’t Want You – Road to Ruin – 1978
I Don’t Wanna Be Learned/I Don’t Wanna Be Tamed – All the Stuff (And More) Volume One – 1990
I Don’t Wanna Go Down to the Basement – Ramones – 1976
I Don’t Wanna Walk Around With You – Ramones – 1976
I Don’t Wanna Walk Around With You (Live) – All the Stuff (And More) Volume One – 1990
I Just Want to Have Something to Do – Road to Ruin – 1978
I Know Better Now – Halfway to Sanity – 1987
I Lost My Mind – Halfway to Sanity – 1987
I Love You – ¡Adios Amigos! – 1995
I Need Your Love – Subterranean Jungle – 1983
I Remember You – Leave Home – 1977
I Want You Around – Road to Ruin – 1978
I Want You Around – End of the Century – 1980
I Want You Around (Original Version) – All the Stuff (And More) Volume 2 – 1990
I Wanted Everything – Road to Ruin – 1978
I Wanna Be Sedated – Road to Ruin – 1978
I Wanna Be Well – Rocket to Russia – 1977
I Wanna Be Your Boyfriend – Ramones – 1976
I Wanna Live – Halfway to Sanity – 1987
I Won’t Let It Happen – Mondo Bizarro – 1992
I’m Affected – End of the Century – 1980
I’m Against It – Road to Ruin – 1978
I’m Not Afraid of Life – Too Tough to Die – 1984
I’m Not an Answer – Pleasant Dreams – 1981
I’m Not an Answer – Too Tough to Die – 1984
I’m Not Jesus – Halfway to Sanity – 1987
Ignorance Is Bliss – Brain Drain – 1989
In the Park – Subterranean Jungle – 1983
Indian Giver – Subterranean Jungle – 1983
It’s a Long Way Back – Road to Ruin – 1978
It’s a Long Way Back to Germany – Rocket to Russia – 1977
It’s Gonna Be Alright – Mondo Bizarro – 1992
It’s Not for Me to Know – ¡Adios Amigos! – 1995
It’s Not My Place (In the 9 to 5 World) – Pleasant Dreams – 1981
Journey to the Center of the Mind – Acid Eaters – 1993
Judy Is a Punk – Ramones – 1976
Kicks to Try – Pleasant Dreams – 1981
Learn to Listen – Brain Drain – 1989
Let’s Dance – Ramones – 1976
Let’s Go – End of the Century – 1980
Life’s a Gas – ¡Adios Amigos! – 1995
Listen to My Heart – Ramones – 1976
Little Bit O’ Soul – Subterranean Jungle – 1983
Locket Love – Rocket to Russia – 1977
Loudmouth – Ramones – 1976
Love Kills – Animal Boy – 1986
Main Man – Mondo Bizarro – 1992
Makin Monsters for My Friends – ¡Adios Amigos! – 1995
Mama’s Boy – Too Tough to Die – 1984
Mental Hell – Animal Boy – 1986
Merry Christmas (I Don’t Want to Fight Tonight) – Brain Drain – 1989
My Back Pages – Acid Eaters – 1993
My Brain Is Hanging Upside Down (Bonzo Goes to Bitburg) – Animal Boy – 1986
My-My Kind of a Girl – Subterranean Jungle – 1983
My-My Kind of Girl – Subterranean Jungle – 1983
Needles and Pins – Road to Ruin – 1978
Needles & Pins – Rocket to Russia – 1977
New Girl in Town – Subterranean Jungle – 1983
No Go – Too Tough to Die – 1984
No One to Blame – Subterranean Jungle – 1983
Now I Wanna Be a Good Boy – Leave Home – 1977
Now I Wanna Sniff Some Glue – Ramones – 1976
Oh Oh I Love Her So – Leave Home – 1977
Out of Here – Too Tough to Die – 1984
Out of Time – Acid Eaters – 1993
Outsider – Subterranean Jungle – 1983
Palisades Park – Brain Drain – 1989
Pet Sematary – Brain Drain – 1989
Pet Sematary (Bill Laswell version) – Brain Drain – 1989
Pinhead – Leave Home – 1977
Planet Earth 1988 – Too Tough to Die – 1984
Poison Heart – Mondo Bizarro – 1992
Psycho Therapy – Subterranean Jungle – 1983
Punishment Fits the Crime – Brain Drain – 1989
Questioningly – Road to Ruin – 1978
R.A.M.O.N.E.S. – ¡Adios Amigos! – 1995
Ramona – Rocket to Russia – 1977
Rock ‘n’ Roll High School – Road to Ruin – 1978
Rock ‘n’ Roll High School – End of the Century – 1980
Rockaway Beach – Rocket to Russia – 1977
Roots of Hatred – Subterranean Jungle – 1983
Scattergun – ¡Adios Amigos! – 1995
She Belongs to Me – Animal Boy – 1986
She Talks to Rainbows – ¡Adios Amigos! – 1995
She’s a Sensation – Pleasant Dreams – 1981
She’s the One – Road to Ruin – 1978
Sheena Is a Punk Rocker – Rocket to Russia – 1977
Sitting in My Room – Pleasant Dreams – 1981
Sleeping Troubles – Pleasant Dreams – 1981
Slug – Rocket to Russia – 1977
Slug – All the Stuff (And More) Volume 2 – 1990
Smash You – Too Tough to Die – 1984
Somebody Like Me – Subterranean Jungle – 1983
Somebody Put Something in My Drink – Animal Boy – 1986
Somebody to Love – Acid Eaters – 1993
Something to Believe In – Animal Boy – 1986
Spiderman – Mondo Bizarro – 1992
Spiderman – ¡Adios Amigos! – 1995
Stares in This Town – Pleasant Dreams – 1981
Strength to Endure – Mondo Bizarro – 1992
Street Fighting Man – Too Tough to Die – 1984
Substitute – Acid Eaters – 1993
Surf City – Acid Eaters – 1993
Surfin’ Bird – Rocket to Russia – 1977
Surfin’ Safari – Acid Eaters – 1993
Suzy Is a Headbanger – Leave Home – 1977
Swallow My Pride – Leave Home – 1977
Take It as It Comes – Mondo Bizarro – 1992
Take the Pain Away – ¡Adios Amigos! – 1995
Teenage Lobotomy – Rocket to Russia – 1977
The Crusher – ¡Adios Amigos! – 1995
The Job That Ate My Brain – Mondo Bizarro – 1992
The KKK Took My Baby Away – Pleasant Dreams – 1981
The Return of Jackie and Judy – End of the Century – 1980
The Shape of Things to Come – Acid Eaters – 1993
This Ain’t Havana – End of the Century – 1980
This Business Is Killing Me – Pleasant Dreams – 1981
Time Bomb – Subterranean Jungle – 1983
Time Has Come Today – Subterranean Jungle – 1983
Today Your Love, Tomorrow the World – Ramones – 1976
Tomorrow She Goes Away – Mondo Bizarro – 1992
Too Tough to Die – Too Tough to Die – 1984
Touring – Pleasant Dreams – 1981
Touring – Mondo Bizarro – 1992
Unhappy Girl – Subterranean Jungle – 1983
Wart Hog – Too Tough to Die – 1984
We Want the Airwaves – Pleasant Dreams – 1981
We’re a Happy Family – Rocket to Russia – 1977
Weasel Face – Halfway to Sanity – 1987
What’d Ya Do? – Subterranean Jungle – 1983
What’s Your Game – Leave Home – 1977
When I Was Young – Acid Eaters – 1993
Why Is It Always This Way? – Rocket to Russia – 1977
Worm Man – Halfway to Sanity – 1987
Yea, Yea – Road to Ruin – 1978
Yea, Yea – All the Stuff (And More) Volume 2 – 1990
You Didn’t Mean Anything to Me – Pleasant Dreams – 1981
You Should Have Never Opened That Door – Leave Home – 1977
You Sound Like You’re Sick – Pleasant Dreams – 1981
You’re Gonna Kill That Girl – Leave Home – 1977
Zero Zero UFO – Brain Drain – 1989
Albums
Ramones (1976): 14 songs
Leave Home (1977): 14 songs
Rocket to Russia (1977): 17 songs
Road to Ruin (1978): 16 songs
End of the Century (1980): 13 songs
Pleasant Dreams (1981): 19 songs
Subterranean Jungle (1983): 19 songs
Too Tough to Die (1984): 17 songs
Animal Boy (1986): 12 songs
Halfway to Sanity (1987): 12 songs
Brain Drain (1989): 13 songs
All the Stuff (And More) Volume One (1990): 5 songs (not previously released)
All the Stuff (And More) Volume 2 (1990): 4 songs (not previously released)
Mondo Bizarro (1992): 14 songs
Acid Eaters (1993): 13 songs
¡Adios Amigos! (1995): 15 songs
Check out our fantastic and entertaining Ramones articles, detailing in-depth the band’s albums, songs, band members, and more…all on ClassicRockHistory.com
“Musicians can get upset with each other, but you’re family. Chris Squire and I were like brothers – he was Darth Vader and I was Obi-Wan Kenobi!” Jon Anderson’s time-travelling solo album 1000 Hands
(Image credit: Getty Images)
Jon Anderson’s 2019 solo album, 1000 Hands: Chapter One, featured rescued material dreamt up 30 years earlier with Yes bandmates, along with a stellar supporting cast. That year, as the world appeared to spin ever more strangely, Prog asked how the hippy dreamer still fitted in. His thoughts, as ever, were intriguing.
If filmmakers can take World War I footage and resurrect it so it appears to have been shot last week, then music producers can do the same with demos from the turn of the 1990s. You can pick up a thread of ideas you had nearly 30 years ago, dust them off and weave them into something that sounds like it was produced yesterday.
That’s one of the approaches taken by Jon Anderson on his new solo album, 1000 Hands: Chapter One. It contains material based around ideas old and new that the former Yes frontman kept in his vault, and among those are tracks co-written and played on by Alan White and Chris Squire, shortly after the short-lived ABWH project was merged back into the Yes fold at the start of 1991.
They were rescued via the curious technique of baking, whereby brittle, deteriorated tapes can be made playable again – albeit only once – in low-temperature ovens, and their contents transferred to a digital format.
The album got its name for a reason; there’s a scrolling list of artistic credits that looks more suited to a star-studded Hollywood movie. “I wanted to invite as many people as possible to perform on these songs,” Anderson explained on a Facebook post last year – and he got his wish.
Further cameos come from Toto’s Bobby Kimball on backing vocals and legendary funk horn section Tower Of Power. The chief architect is undoubtedly producer Michael Franklin, who, while putting the album together last year, suggested even more lower-profile but no less able invitees to the party.
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“Every couple of weeks there’d be somebody else,” Anderson recalls. “Like Zap Mama, these amazing women from Belgium, who I first saw back in the early 90s. I couldn’t believe how good they were, and now all of a sudden here they are singing on the album. It was like my birthday every day, with special guests showing up all the time.”
Planes flying in to feed the starving one day, then flying in the next day to deliver the bombs. What are we doing?
While the risk of a too-many-cooks situation was averted, Anderson recalls getting involved in a musical broth disaster when the oldest songs on 1000 Hands were being demoed. He dates his work with Squire and White to sessions at Big Bear Studios with producer Brian Chatton in 1991, referred to as the Uzlot sessions. His fruitful reconnection with his former bandmates as ABWH was mutating into an ill-advised oversized incarnation of Yes, the eight-piece cut-and-shut vehicle responsible for the relatively unloved 1991 album Union.
Or has he got his dates wrong? He refers to a tour with Japanese ambient pioneer Kitaro as one of the reasons he didn’t complete his the demos, and that took place in summer 1992, which would shift the timeline for the sessions with Squire and White to the spring of that year rather than the Union merger. Producer Jonathan Elias blamed the shortcomings of that album on a lack of songs; but if demoing was going on in early ’91, why didn’t those songs end up being put up for Yes?
“I don’t remember,” says Anderson. “But musicians are like a family. You can get upset with each other once in a while but you’re family. Chris and I were like brothers – he was the yin and I was the yang. He was Darth Vader and I was Obi-Wan Kenobi!”
There’s little danger of 1000 Hands getting the thumbs-down from Anderson fans. It manages an unlikely feat: combining the broad melodic strokes of latter-day Yes with longform song suites and the spiritually-charged lyrics of a diehard child of the 60s.
Twice In A Lifetime – one of three tracks deriving from the 1991 demos, along with First Born Leaders and Come Up – now has violin and accordion in the opening bars before Anderson croons, ‘Twice upon a lifetime was a mystic and a singer, who sang too many songs of love, lost faith in her belief.’ Soon harpsichord-style flourishes decorate a flintier turn in his lyrical flow: ‘Planes fly in with food and love to save the starving millions, while planes fly in to feed the hungry guns of disbelief.’
“It’s just asking a simple question,” he says. “Why can we not share the world? Planes flying in to feed the starving one day, then they’re flying in the next day to deliver the bombs. What the hell are we doing? Everybody feels this way – except those one percenters who seem to have everything organised to build war machines.
I don’t want to say anything; I’d just be feeding a very silly world that’s very Monty Python
“The idea of not being able to share oneness on this planet has been with me since the beginning of the 60s. But in the past 30 years we’ve become a little bit, ‘Oh, okay.’ I think in the next few years we’re going to be going through another big change – and change is good.”
And change is happening, it seems. But in the age of Donald Trump and Brexit, you suspect it’s not the kind of change Anderson had in mind. Now permanently based in California after many nomadic years, how does he view what’s going on in his adopted country? “It doesn’t get much weirder, to be honest. I’m an American citizen, so they can’t throw me out. But I don’t want to say anything; I’d just be feeding a very silly world that’s very Monty Python.”
Did he vote in the Brexit referendum? “No. And I’m still confused – it seems to me like a bunch of bankers asking each other, ‘How much money can we make? Why are the Germans making so much money?’ Guys, haven’t we been here before? Come on! You know, work harder, play harder, be more creative.” We’re not sure where that leaves our hero on the spectrum of opinions across our troubled islands, but maybe he’s not sure either.
Jon Anderson – First Born Leaders [OFFICIAL AUDIO] – YouTube
Those aren’t the only direct-sounding statements you’ll hear on this album. An ear-pricking line from First Born Leaders blends unlikely instrumentation such as steel drums as it concludes: ‘Everybody wants what they cannot have.’ “You bet. It’s more true now than ever,” he says.
A more typically oblique lyric can be found on the nine-minute Activate, a song guest flautist Ian Anderson described as “a long, epic song… very much in the progressive rock tradition.” The key line is, ‘The answer to the proposition 35-42 – everything within the law begins and ends with you.’
In contrast to his old approach of leaving his more puzzling statements open to interpretation, Anderson is happy to explain: “It comes from something you see in America. You’ll see a lot of cards in gardens from local government candidates saying: ‘Proposition 32 – say no! Proposition 61 – say yes!’ That line in the song is just saying we’re all unique and we’re all connected throughout this world.
If you become nothing but materialist and do nothing but boozing, you become empty
“And writing songs activates me; wakes me up. I get very dormant surrounded by materialism and things like that. There’s nothing wrong with it; but if you become nothing but materialist and do nothing but boozing, you become empty, I think. Unless you go and watch a football match and life changes… Hey, it was great to see the games this weekend, wasn’t it? Some great games in England recently. I watch a lot of Spanish football as well…”
The subject takes a sharp turn. Prog thinks we’ve digressed considerably, but maybe that stream of consciousness is a reflection of a man who is still, at heart, a hippie dreamer; yet also an avowed internationalist, who speaks with an accent floating somewhere between Los Padres and Lancashire, and who describes his current home as “very quiet, much like Accrington, surrounded by hills and woodland… but the weather is better.”
As befits such a multi-faceted man, 1000 Hands is an unashamedly eclectic listen. Come Up is another expansive journey that begins with loungey cascades of jazz piano – aided by some sterling work from Corea, Cobham and Ponty – before being joined by steel drums; a combination that surely shouldn’t work, but does.
Later there’s a full-on hands-to-Heaven gospel chorus from Zap Mama, while Anderson offers the kind of lines that you’d expect to hear 45 years ago: ‘Some come to tempt you with visions of the Eastern world, some come to tempt you with their own reality/only you can break the rule of contemplation, these words are purely loved in speculation.’
We find that thought on the same album as some disarmingly straightforward songwriting. Makes Me Happy is reggae-tinged, horn-spattered sunshine pop, then I Found Myself is particularly striking: a sweet acoustic paean laced with flourishes of violin and backing vocals from the inspiration of the song – Anderson’s wife Jane.
“It’s about finding yourself when you find your true soulmate; it’s like a dream come true,” he says. It should of course be unbearably saccharine, but once again the gamble pays off.
I never stop… I’ve got about a dozen projects on the go. It’s what I do
Live shows are planned, but meanwhile new material is constantly being created.“I’m working on something now that’s probably over two hours long,” he says. “It’s a story within a story, and I’m doing about four of them at the same time. I’ve been working on that for 15 or so years.”
You wonder if, like the ‘Uzlot’ sessions, it might end up semi-permanently on the backburner, but that’s the way Anderson has always done things. While we’re on the phone, pauses to open the door; in comes someone he’s demoing tracks with in his home studio.
At 74, retirement doesn’t seem an option. “I never stop,” he admits. “I’m so busy writing songs and create new projects. I’ve got about a dozen projects on the go. It’s what I do. I’m a creative lunatic!”
Johnny is a regular contributor to Prog and Classic Rock magazines, both online and in print. Johnny is a highly experienced and versatile music writer whose tastes range from prog and hard rock to R’n’B, funk, folk and blues. He has written about music professionally for 30 years, surviving the Britpop wars at the NME in the 90s (under the hard-to-shake teenage nickname Johnny Cigarettes) before branching out to newspapers such as The Guardian and The Independent and magazines such as Uncut, Record Collector and, of course, Prog and Classic Rock.
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It’d be hard to imagine that Bleed From Within once peddled run-of-the-mill deathcore, but from 2013’s Uprising they started their evolution towards becoming the UK’s premier modern metal outfit – and seventh album Zenith lives up to its lofty title.
Opener Violent Nature charges in foaming at the mouth before locking into an iron-clad double kick groove. Its flirtation with choral elements makes for epic bridges, segueing into the kind of pit fodder that would get tens of thousands moving at Download. From there, the album continues to affirm Bleed From Within’s supremacy. In Place Of Your Halo celebrates their native Scotland with an atmospheric bagpipe section that feels right at home with the breakdown it accompanies, while God Complex’s four-on-the-floor stomp and gang chants are made to boom out alongside huge blasts of pyro.
There are stunning vocal melodies from guitarist Steven Jones, as on the opening of A Hope In Hell, but he really comes into his own vocally on closer Edge Of Infinity. It starts off in gorgeous near-power ballad territory, before reaching a bombastic conclusion. BFW also bring in some major league guests, such as Mastodon drummer/vocalist Brann Dailor, whose croon gives Immortal Desire its haunting chorus. The tasteful use of symphonic and string elements, like on the melodeath-laced title track, help cement Zenith as the Scots’ most grandiose outing yet.
Expectations were high after the excellent double- punch of 2020’s Fracture and 2022’s Shrine, and Zenith still eclipses them. Chained To Hate offers one of their most savage callouts of ‘I will fucking hang you’, while Known By No Name’s pulsating electronic beginning and tremendous, choir-led chorus makes it truly colossal. Bigger, bolder, brasher, Zenith doesn’t just raise the bar for Bleed From Within, but dares everyone else to match its vitality, fury and lofty ambition.
Zenith is out this Friday, April 4, via Nuclear Blast
Will’s been a metal obsessive ever since hearing Trivium’s Ascendancy way back in 2005, and it’s been downhill ever since. Since joining the Metal Hammer team in 2021, he’s penned features with the likes of rising stars Lake Malice, Scowl and Drain, and symphonic legends Epica. He’s also had bylines in Stereoboard, covering everything from Avenged Sevenfold to Charli XCX.
Having confirmed themselves as one of the most exciting British metal bands of their generation with last year’s exquisite debut album, Devoured By The Mouth Of Hell, the hype around Heriot shows no signs of abating. With a headline UK tour due to kick off this month, we sat down with frontwoman Debbie Gough for a quick catch-up to chat being BFFs with Slipknot, guitar shop toilet disasters and more.
Heriot have certainly had a wild few years. What’s the most starstruck you’ve been?
“We watched Slipknot side-stage at Graspop. It was such a weird scenario, because we were getting ready to leave the festival, and suddenly I got a message from V-Man [bassist Alessandro Venturella], saying, ‘I’ve got passes for you and your camp if you want to watch us.’ They gave us a tour of the stage and introduced us to everybody. That felt so crazy!”
Slipknot are fans, then?
“Well, V-Man is. Ha ha ha! I’m not sure about the others.”
What’s the worst show you’ve ever played?
“We did one where everything seemed to go wrong. I started screaming and the front row was shouting at me, ‘Your mic’s not on!’ We had to restart, then my guitar strap broke. For whatever reason I didn’t have my spare guitar onstage. There was a door side-stage to get to your gear, and it was locked. I had to do the foot-on-the-monitor thing and hold my guitar up the entire show. It was miserable!”
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We’ve seen a lot of people wearing Heriot shirts at gigs in the UK. But have you ever seen someone wearing your merch in an unexpected place?
“I did see someone in a pub in London in a Heriot cap, but I was really weird about it. Ha ha! I didn’t want to do that thing of, ‘Hey, nice cap!’, so I kind of went the other way because I was like, ‘I don’t know what to say!’ Then I felt really bad about it! But I’m sure they weren’t bothered at all. I just thought, ‘I don’t want this person to feel like they have to talk to me.’”
Your guitarist, Erhan Alman, once said Heriot don’t have any metal on their songwriting playlist. Is that true?
“He might not! For Devoured By The Mouth Of Hell, I had a playlist of Nails, Oathbreaker, Power Trip, Billie Eilish, Wand, Sophie and Labrinth.”
In 2023 you did a Jackson Guitars advert with Marty Friedman, Misha Mansoor, Dave Davidson and the like. Did you learn anything playing alongside those master guitarists?
“It was one of the most inspiring things I’ve ever been a part of. Marty Friedman, zero ego. He just wanted to talk about, like, ‘Who are your favourite guitarists? What are you listening to?’ And he has such an insane right-hand picking technique! His guitar didn’t have a tremolo arm on, but he didn’t need one! He just bent the strings like that himself. That was crazy.”
You used to work in a guitar shop in Birmingham. Any fun stories from your time there?
“Somebody did a very, very violent shit up our window one day. It was the most explosive diarrhoea you’ve ever seen in your entire life! Ha ha ha! And there were bracelets in the pile of poo. It was like cow shit, or the mud at Download last year.”
Bracelets?!
I presume somebody must have had them on their wrist and then, in their distress of having to shit at the window, probably threw their arms down.”
So you didn’t actually see this happen?
“This is the next bit of the story! I logged into the CCTV and I went through the entire day and the entire night before, and I couldn’t see anything! I spent so long trying to find the culprit and I could not find him!”
Who cleaned it, in the end?
“My workmate did. He got the bleach bucket out and did it himself. What’s funny is my boyfriend works for a drum company, so he knew our shop really well. Before he started working there, he wouldn’t believe me when I’d come home and tell stories like this. Then, when he started dealing with our shop, he was like, ‘Oh my god…’ Ha ha ha!”
We were so hoping you were going to say this is how you met. That would have tied this all together in such a lovely bow.
“I’m afraid not. Ha ha ha!”
Heriot’s UK tour kicks off this month. Devoured By The Mouth Of Hell is out now via Century Media. They also play Bloodstock and 2000 Trees festivals this month
Sum 41 have released a cover version of Rage Against The Machine‘s 1999 hit single Sleep Now In The Fire.
The Canadian punk heroes drew the curtain on their career in January of this year, wrapping up a lengthy farewell tour in their home country.
But they have also treated fans with a couple of new recordings for the Spotify Singles series – the RATM cover and a new version of Landmines, the song originally released on 2024 album Heaven :x: Hell.
In a statement, Sum 41 say: “Recording these Spotify Singles has been an incredible way to celebrate with our fans around the world. We’re so grateful for their support and excited to share this special session with everyone.”
Sleep Now In The Fire was released as the second single from Rage Against The Machine’s 1999 album The Battle of Los Angeles. It was accompanied by an iconic video, directed by politically outspoken documentary maker Michael Moore.
The video sees the band performing in front of the New York Stock Exchange, resulting in Moore being arrested and the band members entering the building before the Stock Exchange’s titanium riot doors came crashing down.
It became headline news, with conservative commentators lining up to criticise Rage Against The Machine. It was even referenced in the presidential debate that evening, with future President George W. Bush angrily condemning their actions.
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Guitarist Tom Morello later said of the video and the controversy: “In retrospect it felt like a historic victory against evil. It was a pretty spectacular, historic rock’n’roll thing we made. They don’t make them like that anymore.”
Sum 41 – Sleep Now in the Fire (2025) (NEW SINGLE) – YouTube
Rare audio of prog icons Yes playing a version of The Beatles‘ Eleanor Rigby has emerged online. The recording, which was made in February 1969 during sessions at Polydor Studios in London with producer John Anthony, was uploaded to YouTube late last week.
“This particular recording has never been publicly released before,” reports YouTuber Ian Hartley, who uploaded the track. “Here is the first (failed) take of the ER run-throughs as recorded in raw form at the time. Apart from some speed correction, no remastering was done to the master tapes.”
Harley, who describes himself as a “60-something Bootleg record collector and classic rock fan interested in coloured vinyl records of all sorts,” and uses the ‘pig’ logo of famed Californian bootleg label Trademark Of Quality as his avatar, says that the release of further such recordings may follow.
The performance finds Yes upping the original’s tempo significantly, with a lengthy psychedelic intro from guitarist Peter Banks and keyboardist Tony Kaye giving way to Chris Squire’s rumbling bass and a short vocal from Jon Anderson, before the singer calls a halt to proceedings just before the two-minute mark.
The precise origins of the recording remain unclear, although in 2009 Bonhams auction house in London listed a tape recorded with John Anthony on February 14, 1969, that included three other songs: a cover of Stephen Stills’ Everydays, Leonard Bernstein and Stephen Sondheim’s Something’s Coming, and Dear Father.
Yes signed to Atlantic Records in March 1969 and released their self-titled debut four months later. None of the songs known to have been recorded during the sessions with Anthony made the final tracklist, although versions of Everydays, Something’s Coming and Dear Father appeared as b-sides of Yes’s first three single releases.
According to the YesFans forum, there are three known recordings of Yes playing Eleanor Rigby in the studio, although none have been officially released.
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YES – RARE STUDIO RECORDING – ELEANOR RIGBY 1969 – FAILED TAKE 1 – YouTube
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